Like the conceptual artists of the 1960s and 70s, Stefan Brüggemann uses language to create works that question contemporary life. He does so from an aesthetic radically opposed to that of his predecessors, drawing on influences as diverse as punk, mass media, urban art and political protest. Sometimes he uses the work of other artists as a base, appropriating and intervening to give it a new meaning. Other times he reinterprets his own work, especially his poems, known as Text Pieces, which form the conceptual basis of his entire production. And sometimes he mixes these practices, creating associations between his own work and that of other artists.

In his latest project, Brüggemann/Miró, he has reused a series of lithographic posters by Joan Miró, on which he has printed one of his most iconic poems: "To Be Political, It Has To Look Nice”. These works raise several questions, some obvious at first glance, such as the relationship between politics and aesthetics, the influence of politics on art, or the use of art as propaganda. Others, less obvious, emerge as the viewer becomes immersed in the work, such as the reuse of resources as opposed to overproduction, the overexposure to messages in capitalist societies, or the role of propaganda in contemporary art. Brüggemann will stick these posters on the street in the manner of political propaganda. The fact that the work is transferred to the street completes its meaning, as it surprises the viewer in a context completely different from the usual exhibition spaces, giving it a new dimension both aesthetically and conceptually.